The House with the Ocean View

VIDEO: Marina Abramović: The body as medium
For more information, please visit www.moma.org/abramovic.
Marina Abramović: The Artist Is Present
March 14–May 31, 2010
Images courtesy of Marina Abramović and Sean Kelly Gallery/Artists Rights Society (ARS), New York.
Filmed by The People's DP, Inc.
DP - Edward Roy
Audio - Nick Poholchuck

Marina Abramović: Live at MoMA
For more information, please visit www.moma.org/abramovic.
Marina Abramović: The Artist Is Present
March 14–May 31, 2010
Images courtesy of Marina Abramović and Sean Kelly Gallery/Artists Rights Society (ARS), New York.






© Marina Abramovic
"The House with the Ocean View", 2002
12 day durational performance
The exhibition is comprised of a major new perfomance "The House with the Ocean View" which the artist describes as the most important one of her career to date, "Dream Bed" - a sculpture the public can use and "Stromboli" - a new video installation. Each work demonstrates part of Abramovic's concern with creating works that ritualize the simple actions of everyday life like lying, sitting, dreaming, and thinking; in effect the manifestation of a unique mental state. As a vital member of the generation of pioneering performance artists that includes Bruce Nauman, Vito Acconci, and Chris Burden, Abramovic created some of the most historic early performance pieces and is the only one still making important durational works.

"The House with the Ocean View" is a public living installation: for the first twelve days of the exhibition Abramovic will fast following a strictly defined regimen in three specially constructed living units in the main gallery space. For this unique and challenging performance, the gallery will have special hours (see below), to facilitate repeated attendance by the public, as their presence is integral to the work.

two videos at the same time

Test of the processing code I finished today allowing to run two videos at the same time on the screen. The position of the videos is disturbed by the hand's movements captured by the webcam.

Sonic Bed_London

Kaffe Matthews, Sonic Bed, 2002-05

http://www.kaffematthews.net/works/

Sonic Bed_London is the original sonic bed, commissioned by Electra for Her Noise 2005, supported by the Arts Council of England and Women in Music. It is a central pin in music for bodies research and was awarded a Distinction in Digital Musics at Prix Ars Electronica, 2006.


The Sonic Bed is a purpose built portable venue which plays music that moves for the prone bodies of an audience, who can come lie in the bed alone or together.

It is a sonic and social experiment exploring our perception of sound, presenting an oversized bed as a polished wooden tank with steps to climb up to get in it. Visitors are invited to remove their shoes and come lie on and enjoy specially constructed pieces moving up and down and around their bodies. Subtle, dynamic, at times beyond hearing, Sonic Bed plays music to feel rather than just listen to.

Sonic Bed is also an instrument, to be played by anyone who is interested as well as commissioned composers to make pieces for it using the specially developed software interface, built by and being developed in collaboration with David Muth through our research.

This interface enables the maker to literally draw and record sounds through the 12 channel sound system hidden under the mattress and side panels whilst lying in it ; meaning that 12 independent sources of sound can be playing and moving independently at any one time.

Sonic Bed_London was conceived and directed by Kaffe Matthews 2002, realised in November 2005 and its success has spawned the ongoing Worldwide Bed Project.

Sonic Bed_London was designed in collaboration with Paul Weyland, built by Craig Helliwell, Sheffield, with audio consultancy from Mike Appleton, Audio Car, London, installed by Paul Rossi, covers by Camalo Gaskin and overall facilitation by Mario Radinovic.

Embankment

(''Embankment'' by Rachel Whiteread. Turbine Hall, The Tate Modern, Bankside, London. 13 November 2005. Photographer: Fin Fahey.)


Embankment (2005-2006) . Rachel_Whiteread
In spring 2004, she was offered the annual Unilever Series commission to produce a piece for Tate Modern's vast Turbine Hall, delaying acceptance for five to six months until she was confident she could conceive of a work to fill the space [2]. Throughout the latter half of September 2005 and mid-way into October her work Embankment was installed and was made public on October 10. It consists of some 14,000 transluscent, white polyethylene boxes (themselves casts of the inside of cardboard boxes) stacked in various ways; some in very tall mountain-like peaks and others in lower (though still over human height), rectangular, more levelled arrangements. They are fixed in position with adhesive. She cited the end scenes of both Raiders of the Lost Ark and Citizen Kane as visual precursors, she also spoke of the death of her mother and a period of upheaval which involved packing and moving comparable boxes.[15] It is also thought that her recent trip to the Arctic is an inspiration, although critics counter that white is merely the colour the polyethylene comes in, and it would have added significantly to the expense to dye them. The boxes were manufactured from casts of ten distinct cardboard boxes by a company that produces grit bins and traffic bollards.[16]
The critical response included:
"With this work Whiteread has deepened her game, and made a work as rich and subtle as it is spectacular. Whatever else it is, Embankment is generous and brave, a statement of intent."[17]
— Adrian Searle, The Guardian, October 11, 2005.
"Everything feels surprisingly domestic in scale, the intimidating vistas of the Turbine Hall shrunk down to irregular paths and byways. From atop the walkway, it looks like a storage depot that is steadily losing the plot; from inside, as you thread your way between the mounds of blocks, it feels more like an icy maze."[18]
— Andrew Dickson, The Guardian, October 10, 2005.
"This is another example of meritless gigantism that could be anywhere, and is the least successful of the gallery's six attempts to exploit its most unsympathetic space,"[19]
— Brian Sewell, London Evening Standard, October 2005.
"[looks] like a random pile of giant sugar cubes [...] Luckily, the £400,000 sponsored work is recyclable."[20]
— Stephen Moyes, Daily Mirror, October 11, 2005.

TATE:
http://www.tate.org.uk/modern/exhibitions/whiteread/

unileverseries:
http://www.tate.org.uk/modern/unileverseries/interactives/index2.html

Polyethylene
http://en.wikipedia.org/wiki/Polyethylene

Bill Viola - Anthem

Bill Viola - Anthem
The piece centers on a single piercing scream and on the extension of this scream by a little girl eleven years old under the engine shed at Union Railroad Station in Los Angeles. This initial cry, which only lasts a few seconds, is prolonged in time and its frequency is profoundly transformed and multiplied by the use of slow motion. This spasm of sound is the invisible container of a stretched-out time and space, a universal breath. Thus, although the picture shows the little girl to be the source of the sound, the shriek extends well beyond the contours established by her body, spreading and flowing like a dark fluid, and mingles with all the sirens in the town, with every shout and with the noises of the rising irrepressibly from below. These are mnesic images, "all centered on the theme of primitive fear of the dark, materialism and the harmful separation of body and mind" (Bill Viola).